FIFTH ELLIS CONCERT

CARNEGIE MUSIC HALL . . PITTSBURGH

i S)ympincThirty-fifth Season, 1915-1916

Dr. KARL MUCK, Conductor

PirogiTEniini©

WITH HISTORICAL AND DESCRIPTIVE

NOTES BY PHILIP HALE

THURSDAY EVENING, JANUARY 27

AT 8.15

COPYRIGHT, 1916, BY C. A. ELLIS

PUBLISHED BY C. A. ELLIS, MANAGER

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Thirty-fifth Season, 1915-1916

Dr. KARL MUCK, Conductor

PERSONNEViolins.

Witek, A.Concert-master.

Noack, S.

Mahn, F.

Tak, E.

Habenicht, W.Fiumara, P.

Griinberg, M.Kurth, R.

Ferir, E.Wittmann, F.

Van Wynbergen, C.Blumenau, W.

Roth, O.Koessler, M.

Bak, A.Ribarsch, A.

Fiedler, B.Spoor, S.

Pinfield, C.Gunderson, R.

Werner, H.Schwerley, P.

Hoffmann, J.Schmidt, E.

Traupe, W.Baraniecki, A.

Berger, H.Siilzen, H.

Gerardi, A.Gewirtz J

Violas.

Gietzen, A.Berlin, W.

Warnke, H.Malkin, J.

Keller, J.Nagel, R.

Violoncellos.

Barth, C.Nast, L.

Belinski, M.Folgmann, E.

Rissland, K.Theodorowicz, J.

Gk>ldstein, H.Sauvlet, H.

Goldstein, S.

Fiedler, A

v.Veen, H.Kautzenbach, W.

Steinke, B.Warnke, J.

Basses.

Kunze, M.Gerhardt, G.

Flutes.

Maquarre, A.Brooke, A.de Mailly, C.Battles, A.

Agnesy, K.Jaeger, A.

Oboes.

Longy, G.Lenom, C.Stanislaus, H.

Seydel, T.Huber, E.

Clarinets.

Sand, A.Mimart, P.

Vannini, A.

English Horn.

Mueller, F.

Bass Clarinet.

Stumpf, K.

Horns.

Wendler, G.Lorbeer, H.Hain, F.

Rescn, A.

Horns.

Jaenicke, B.

Miersch, E.Hess, M.Hubner, E.

Trumpets.

Heim, G.Mann, J.

Nappi, G.Kloepfel, L.

Ludwig, O.Schurig, R.

Bassoons.

Sadony, P.

Mueller, E.Fuhrmann, M.

Contra-Bassoon.

Mosbach, J.

Trombones.

Alloo, M.Belgiorao, S.

Mausebach, A.Kenfield, L.

Tuba.

Mattersteig, P.

Harps.

Holy, A.Cella, T.

Organ.

Marshall, J. P.

Tympani.

Neumann, S.

Kandler, F.

Librarian.

Sauerquell, J.

Percussion.

Zahn, F. Gardner, CBurkhardt, H.

Assistant Librarian.

Rogers. L. J.

From Bowstring to Pianoforte

When the melodious twang of a taut bow-

string first tickled the ear of some skin-clad

huntsman of the Stone Age, an immortal

musical tradition had its ignoble birth.

Through these many thousand years this

musical tradition has marvelously developed,

from primitive Grecian lyre to the many-

stringed harp of the mediaeval minstrels,

from clavichord to spinet, from harpsichord

to pianoforte, until it finds today its supreme

expression in the

«W-Chickering & Sons, Boston

Division of American Piano Co.

For Sale by

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CARNEGIE MUSIC HALL PITTSBURGH

rThirty-fifth Season, 1915-1916

Dr. KARL MUCK, Conductor

THURSDAY EVENING, JANUARY 27

AT 8.15

PROGRAMME

Brahms . Symphony No. 3, in F major, Op. 90I. Allegro con brio.

II. Andante.III. Poco allegretto.

IV. Allegro.

Mozart . Concertante Symphonie for Violin and Viola

(K. Op. 364)

I. Allegro maestoso, E-flat major, 4-4.

II. Andante, C minor, 3-4.

III. Presto, E-flat major, 2-4.

Violin, Mr. Witek Viola, Mr. Ferir

(Cadenzas by Hellmesberger)

Rachmaninoff ." The Island of the Dead," Symphonic Poem, for

full Orchestra, to the picture by A. Bocklin,

Op. 29

Dukas "L'Apprenti Sorrier" ("The Sorcerer's x\pprentice ")

(after a Ballad by Goethe)

There will be an intermission of ten minutes after the symphony

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Symphony No. 3, in F major, Op. 90 Johannes Brahms(Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897.)

Brahms worked on his Third Symphony in 1882, and in the summerof 1883 he completed it. That summer was spent at Wiesbaden, whereBrahms lived in a house that had belonged to Ludwig Knaus, thepainter. He wrote to Herzogenberg from Wiesbaden on May 20, 1883:"I have lighted on incredibly nice quarters at Wiesbaden, Geisterberg-strasse 19. It is really worth while, and in every way desirable, thatyou should come and inspect them. You will be filled with envy, butcome all the same." Miss Florence May, in her Life of Brahms, tells

how the composer took off his boots every night on returning to thehouse, and went up the stairs in his stockings, that he might not disturb

an elderly and delicate woman on the first floor. Miss May also tells astory of Brahms's brusqueness when a private performance of the newsymphony, arranged for two pianofortes, was given by Brahms and Briill

at Ehrbar's * in Vienna. One of the listeners, who had not been reck-

oned among the admirers of Brahms, was enthusiastic over the newwork. "Have you had any talk with X.?" asked young Ehrbar of

Brahms; "he has been telling me how delighted he is with the sym-phony." To which Brahms answered: "And have you told him thathe often lies when he opens his mouth?"The first movement, Allegro con brio, in F major, 6-4, opens with

three introductory chords (horns, trumpets, wood-wind), the upper voice

of which, F, A-flat, F, presents a short theme that is an emblematicfigure, or device, which recurs significantly throughout the movement.

*Friedrich Ehrbar, a warm friend of Brahms, was a pianoforte manufacturer.

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Although it is not one of the regular themes, it plays a dominatingpart, immediately as bass and later as an opposing voice in middleand upper position to the first theme, which is introduced by the violins

in octaves, supported by violas, violoncellos, and trombone at thebeginning of the third measure. The short introductory, now counter,

theme rises as a bass, and produces thereby a strongly marked cross-

relation,—the A-flat of the bass against the preceding A-natural of

the first theme. This delicate violation of the rules has provokedmuch discussion, although the swing of the theme is* in no way influ-

enced by this cross-relation, or Ouerstand. Some find here the "key-note to some occult dramatic signification." William F. Apthorpvoiced this opinion with peculiar felicity: "It seems to me that it

can only be explained on the supposition of some underlying dramaticprinciple in the movement, such as the bringing together of twoopposing forces,—Light and Darkness, Good and Evil, or perhapsonly Major and Minor,—for on purely musical grounds the thing

has little sense or meaning. The first theme starts in passionately

and joyously, in the exuberance of musical life; the counter-themecomes in darkly and forbiddingly, like Iago's

... O, you are well-tun'd now!But I'll set down the pegs that make this music,As honest as I am.'

"

The second chief member of the body of the first theme is silent for

four measures, while the first violins continue; but it again appears in

the bass, A, C, A. Enharmonic modulation leads to A major, the

tonality of the second theme. There is first a slight reminiscence of

the " Venusberg" scene in "Tannhauser,"—"Naht euch dem Strande!"

and Dr. Hugo Riemann goes so far as to say that Brahms may havethus paid a tribute to Wagner, who died in the period of the compo-sition of this symphony.The second theme is of a graceful character, but of compressed form,

and is in strong contrast with the broad and sweeping first theme. Therhythm, 9-4, is complicated. The clarinet sings against a bassoonphrase over a double drone-bass or organ-point from the deeper strings,

while the flute embellishes. This is repeated, and the strings bring

a short phrase in antithesis. But, with the end of this section in 9-4

and with the return to 6-4, and the stormier mood, the oboe gives out

the "device" (A, C, A).

The free fantasia, or middle section, is comparatively short,—nine

oages of the score to fourteen occupied by the exposition. Both themes

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are developed, and the "device" is developed melodically by hornand oboe.

The recapitulatory section begins with a reannouncement of the"device" in full harmony (F, A-flat, F, in wood-wind, horns, trumpets,and strings), and the " device" is repeated by the trumpets, horns, trom-bones, bassoons; and it gives way to the announcement, as at thebeginning of the movement, of theme and counter-theme together.

The development is much like that in the first part. The second theme,in 9-4, is now in D major. The first theme is in F major at the be-ginning of the elaborate coda. After a struggle it triumphs over its

old adversary, and, triumphant, dies away in pianissimo.

The second movement, Andante in C major, 4-4, opens with a hymn-like passage, which in the first three chords reminds one of the " Prayer"*in "Zampa." It is played in four-part harmony by clarinets andbassoons, re-enforced after two measures by horns and flutes in thelower register. Violas and violoncellos in four parts repeat the last

measures of several phrases, as an echo. The theme developed in

this manner is followed by a variation for the strings, wood-wind,and horns. The transition to the second theme consists of a figured

and extended repetition of the first half-period. This second theme is

sung first by clarinet and bassoon, then by oboe and horn, in octave,

while there is a subdued accompaniment in the strings. The strings

lead in a supplemental passage, wood-wind instruments answer them,and then there is a phrase of six measures remarkable for its transi-

tional harmonies. The first theme returns in new and elaborate vari-

* Not the "Prayer" for three voices, act ii., No. i, but the opening measures of the chorus in A majorin the finale of the opera, "Ah, soyez nous propice, Sainte Alice," which is introduced (B-flat) in the overture.

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ations. The remarkable harmonies reappear as an approach to the

short coda, which is built on fragments of the first theme, in clarinets

and bassoons, then in the brass, while rising arpeggios in oboe andflute lead to the close.

The third movement is a poco allegretto in C minor, 3-8, and is aromantic substitute for the traditional scherzo. It is scored for a small

orchestra,—strings, wood-wind, and two horns. It is an example,seldom found, of a third movement in the minor .of the dominant of

the key of the symphony. And here there is more or less of a return

to the restless spirit of the first movement. The chief theme, mezzavoce, espressivo, is sung in the first twelve measures by the violon-

cellos, afterward by the violins with more of an accompaniment. Con-trapuntal passages between violoncellos and first violins supply theantithesis. After a repetition, with melody spread out in flute, oboe,

and horn, a modulation to A-flat major brings in the second theme,which is given to the wood-wind in strange harmonies to a syncopatedaccompaniment of the violoncellos. There is a repetition of this theme,which is modified. There is a flowing passage for the strings alone.

Again the strange harmonies in the wind. There is a return to the

first theme in C minor, which is sung by the horn, then by the oboe,

and at last by the first violins and violoncellos. There is a short coda.

The Finale, allegro, in F minor, 2-2, opens with the statement of the

first theme (sotto voce) by the strings and the bassoons. The expo-sition is simple, and the theme is then repeated in more elaborate formby flutes, clarinets, and bassoons. Trombones announce a solemn,fateful theme in A-flat major, given out pianissimo by strings andwind instruments in harmony. A strong transitional passage leads

to another theme in C major, of a lighter and more jubilant nature,

given out by violoncellos and horns, and later by the first violins andwood-wind, while there is a running contrapuntal bass (strings). Therhythm is complicated. The development leads to a climax, fortis-

simo, and after another intermediary passage a bold theme in synco-

pated rhythm enters. This is developed with suggestions of the first

theme. The measures that follow are a combination of free fan-

tasia and recapitulation. This combination begins with a reappear-

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10

ance of the chief theme in its original form, which is repeated in har-mony and elaborated. There is a passage built on an organ-pointand ornamented with allusions to the first theme, then a return of thesolemn theme in trombones and other wind instruments. There is

a brave attempt to re-establish the inexorable"device" (F, A-flat,

F) ; but the major triumphs over the minor, and at the end the stringsin tremolo bring the original first theme of the first movement, "theghost" of this first theme, as Mr. Apthorp calls it, over sustained har-monies in the wind instruments.

The symphony is scored for three flutes, two oboes, two clarinets,

two bassoons, double-bassoon, four horns, two trumpets, three trom-bones, kettledrums, and strings.

CONCrjRTANTE SYMPHONIE FOR VlOLIN AND VlOLA (K. 364J.Wolfgang Amadeus Mozart

(Born at Salzburg on January 27, 1756; died at Vienna on December 5, 1791.)

This composition in E-flat major is for solo violin and solo viola, withaccompaniment of two oboes, two horns, and strings. The date of thecomposition is unknown. The original manuscript is probably not in

existence. When the work was performed at the Mozart Festival in

Salzburg, 1856, a copy owned by Andre was used, in which cadenzas in

Mozart's handwriting were inserted. Otto Jahn thought the concertocould not have been written before 1776 or 1777, perhaps not before

1780, on account of the maturity shown in the invention of the themes,the coherency of the development, the charm and sureness of modula-tions, the treatment of the orchestra, separately and in connection withthe solo instruments. The form is conventional, but the movementsare more broadly planned and more fully extended than was then cus-

tomary. There is more of the symphonic character than in other worksof similar nature in the same period. The solo instruments are handled

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11

simply in their relations one with another. They exchange phrases,

repeating them one after the other, in different tonal positions, or theyshare them in the same tonality. When they are together they moveas a rule in thirds or sixths. It is rare to find each of them—as in theAndante and Presto—in a two-voice passage treated independentlyand freely.

The viola part is written in D major, so that the instrument must betuned a half-tone higher, to give more bite to the strings and ease to

the player.

The first movement with a cadenza by Hellmesberger was played in

Boston at a Symphony Concert by Mr. Loeffler (violin) and Mr. Kneisel(viola) on January 2, 1892.

"The Island of the Dead," Symphonic Poem, for Full Orchestra,to the Picture by A. Bocklin, Op. 29.

Sergei Vassilievich Rachmaninoff

(Born in the government of Novgorod, April 1, 1873; now living.)

This symphonic poem was played at Moscow in the season of

1908-09, under the direction of the composer. It was played after-

ward in Berlin at a concert of the Society of Friends of Music, led byOskar Fried. The first performance in the United States was at a

concert of the Theodore Thomas Orchestra in Chicago, December 3,

1909, when the composer conducted. The first performance in Bostonwas at a concert of the Boston Symphony Orchestra, December 18,

1909, when the composer conducted. Mr. Fiedler conducted the

performances of February 19, 1910, and April 15, 191 1.

"Die Todteninsel, Symphonische Dichtung zum Gemalde von A.Bocklin," is dedicated to Nicolas von Struve, and is scored for these

instruments: three flutes (one interchangeable with piccolo), twooboes, English horn, two clarinets, bass clarinet, two bassoons, double-

bassoon, six horns, three trumpets, three trombones, bass tuba, a set

of three kettledrums, bass drum, cymbals, harp, and the usual strings.*

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Arnold Bocklin, in the spring of 1880, made the first sketch of his

"Island of the Dead," and this sketch, 1.10 metres in length and1.54 metres in breadth, is in the possession of the Simrock family of

Berlin. This he left unfinished for a time, and made a second whichhe at once painted, and this was for the Countess Marie von Oriola,

of Blidesheim. It is said that he painted it according to the wish- of

the Countess, who visited him at Florence, and that when he showedit to her he said: "You received, as you wished, a dream picture. It

must produce such an effect of stillness that any one would be fright-

ened to hear a knock on the door." According to Fritz von Ostini, athird variant of the first sketch was made in 1883, a fourth in 1884, afifth, which is in the Leipsic Museum, in 1886, and still a sixth, almosta replica of one of the former ones, was sold in Munich. The secondvariant is owned by the Schon family in Worms. There are differences

in detail and in color in the five variants.

The island in the picture was suggested by the group of PonzaIslands, north of the Gulf of Naples. Their form and rocks show that

they are of volcanic origin, and in prehistoric times were probably of

the Vesuvian craters. Some of the islands are arable and inhabited,

others are wild masses of rocky ledges. As Franz Hermann Meissnerputs it, one of the latter islands was the half of what was once a vol-

canic peak. The waves in the course of centuries shaped a little haven.Birds brought the seeds of cypress-trees. The trees in time shot up in

the ledges. At last man came, and made paths and hollowed chambersand threw up a rough wall as a protection against the waves. Theisland even then was as solemn as a pyramid. It was a hidden nookfor the dead that wished to Ire undisturbed. Bocklin expressed this

rest of the dead in a place remote, and forgotten by the world. Thesea is still, there is no cry of bird, no fluttering, no voice. The boat

approaching the little harbor of the island with its towering blue-green

cypresses and awful rocks is rowed noiselessly by the ferryman. Thewhite and quiet figure near the coffin,—is it some mourner or is it

a priest?*

* *

Rachmaninoff's musical instinct was discovered at an early age,

and carefully developed. When he was nine years old, he was sent

to the Conservatory of Petrograd, and he studied the pianoforte

there with Denyanski, but in 1885 he left this conservatory to enter

the one at Moscow. There he studied the pianoforte, first with Zvireff,

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a pupil of Liszt, and afterward with Alexander Siloti,* a cousin of

Rachmaninoff. His teachers in composition were Arensky and Tan&'eff.

In 1 89 1 he was awarded the highest honors as a pianist, and in 1892the highest honors in composition, the gold medal of honor, for his

opera "Aleko" in one act (with the libretto after Pushkin). He thentravelled for some years, and gave many concerts in Russia. In 1899he visited London at the invitation of the Philharmonic Society, andconducted his Fantasia, "The Cliff," based on Lermontoff's poem, andappeared as pianist at the Philharmonic Concert, April 19. In 1902he appeared at Vienna as a pianist, and in 1907 visited Paris. In 1897he was appointed conductor at the Moscow Private Opera, but he gaveup this position at the end of a year. In 1893 he was appointed pro-

fessor of the pianoforte at the Maryinsky Institute for girls in Moscow.In 1904 he was appointed first conductor at the Imperial Theatre of

Moscow, and it is said that he accepted the position with the condition

that he should conduct only Russian operas. In 1906 he resigned

the position to devote himself to composition, and he left Moscow to

make Dresden his dwelling-place. He has visited Petrograd andMoscow to conduct concerts of the Philharmonic Association in the

former city and of the Imperial Musical Association in the latter.

Mr. Rachmaninoff made his first appearance in the United States as

a pianist, giving a recital at Smith College, Northampton, November 4,

1909. He played with the Boston Symphony Orchestra on the trip

that began November 8, 1909.

* Siloti visited Boston in 1898, and played here at a concert of the Boston Symphony Orchestra, Febru-ary 5, when he played Tschaikowsky's Concerto fcr pianoforte, G major. No. 2, Op. 44. He save three con-certs here that season, February 12, 14, March 12. At the last he was assisted by Messrs. Kneisel, violinist,

and Schroeder, violoncellist. He also played here at a concert of the Kneisel Quartet, March 14, 1898 (Tschai-kowsky's Trio, Op. 50).

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14

"The Sorcerer's Apprentice" (after a Ballad by Goethe;.Paul Dukas

(Born at Paris, October i, 1865; now living at Paris.)

"L'Apprenti Sorcier," an orchestral scherzo, was composed in 1897,

and performed for the first time at a concert of the Societe* Nationale,

Paris, May 18 of that year. It was played as a transcription for two

pianofortes at a concert of the same society early in February, 1898.

Messrs. Dimmer and Cortot were the pianists. It was played as an

orchestral piece at a Lamoureux Concert, Paris, February 19, 1899,

when Mr. Chevillard led on account of the sickness of Lamoureux.

The scherzo was produced at Chicago by the Chicago Orchestra (Mr.

Thomas, conductor), January 14, 1899. It was performed in Boston

at Symphony Concerts, October 22, 1904 (Mr. Gericke, conductor),

on December 2, 1906 (Mr. d'Indy, conductor), on February 9, 1907

(Dr. Muck, conductor), on April 17, 1909 (Mr. Fiedler, conductor), and

on March 1, 19 13, February 14, 19 14 (Dr. Muck, conductor).

Goethe's ballad, " Der Zauberlehrling," was first mentioned in a letter

of Schiller dated July 23, 1797 ; it was first published in Schiller's Musen-

almanach for 1798:

—

Hat der alte HexenmeisterSich doch einmal wegbegeben!Und nun sollen seine Geister

Auch nach raeinem Willen leben.

Seine Wort' und WerkeMerkt' ich und den Brauch,Und mit Geistesstarke

Thu' ich Wunder auch.Walle! walleManche StreckeDass, zum Zwecke,Wasser fliesse

Und rait reichem, vollem Schwalle

Zu dem Bade sich ergiesse.

PIANIST TEACHER of PIANO'Highly intelligent and specially gifted."

"It gives me pleasure to express the high esteem in

which I hold the pianoforte playing of Miss Todd, and

my confidence in her ability as a teacher of the

instrument."

yV2l^CUl^y^jyXiX^

^^N.Y. TRIBUNE, April 25. 1915:

Carnegie Chamber Music Hall pre-

sented a most attractive scene on last

Tuesday evening at the piano recital

given by the pupils of Miss MarieLouise Todd—formerly a pupil of Dr.Mason and Rafael Joseffy. The workof the young artists was enthusiastically

applauded by a large audience, and they

were obliged to give many encores

—

their excellent rendition of a difficult andhighly artistic programme in which they

displayed delicacy of touch, calm poise

and individuality being much praised.

Worthy of note was the fact that all the

students dispensedwith the printed music,

interpreting everything from memory.

Studio. CARNEGIE HALLAddress

HOTEL WOODWARDNew York City

15

The ballad is a long one, and we must here be content with the pro-

saic English version by Bowring:

—

I am now,—what joy to hear it !

—

Of the old magician rid;

And henceforth shall ev'ry spirit

Do whate'er by me is bid:

I have watch 'd with rigor

All he used to do,

And will now with vigorWork my wonders, too.

Wander, wanderOnward lightly,

So that rightly

Flow the torrent,

And with teeming waters yonderIn the bath discharge its current!

And now come, thou well-worn broom,And thy wretched form bestir;

Thou hast ever served as groom,So fulfil my pleasure, sir!

On two legs now standWith a head on top;

Water pail in hand,Haste and do not stop

!

Wander, wanderOnward lightly,

So that rightly

Flow the torrent,

And with teeming waters yonderIn the bath discharge its current

!

See! he's running to the shore,

And has now attain'd the pool.

And with lightning speed once moreComes here, with his bucket full

!

Back he then repairs;

See how swells the tide!

How each pail he bearsStraightway is supplied!

Stop, for, lo!

All the measureOf thy treasureNow is right!

Ah, I see it! woe, oh, woe!I forget the word of might.

Ah, the word whose sound can straight

Make him what he was before!

Ah, he runs with nimble gait!

Would thou wert a broom once more!Streams renew 'd forever

Quickly bringeth he;

River after river

Rusheth on poor me

!

Now no longerCan I bear him;I will snare him,Knavish sprite!

Ah, my terror waxes stronger!

What a look ! what fearful sight

!

BELGIAN SCHOOLOF VIOLIN

By HENRI LEONARDRevised, Fingered, bowed and with translation by

OVIDE MUSIN

Vol. i. 40 Studies in first pqs'tion, with accompaniment for second violin.

Vol. 2. 60 Studies in all positions, Harmonics, Staccato, Shifting. Chromatics, Pizzicato, Vibrato and Howto Practice them, with accompaniment for second violin.

Vol. 3. 50 Studies preparatory to pieces by Old and Modern Masters.Vol. 4. 22 Special daily exercises for advanced violinists, Scales with Paganini's fingering. The Staccato and

HOW TO ACQUIRE IT QUICKLY by Ovide Musin

Write for History of the Belgian School. Enclose 2 cent stamp.

Address REGISTRAR, MUSIN'S VIRTUOSO VIOLIN SCHOOL. 51 W 76th St. NEW YORK CITY

We call your attention to the advertisement of "The Elite" La Favorita

Strings, which are considered as the Acme of Highest Grade Strings and weare assured that they are used throughout the world by leading Artists andSoloists. They are on sale at most of the Leading Music Houses throughout

the United States and Canada, if you are not familiar with these strings, give

them a trial and convince yourself as to their unequalled merit as to correct-

ness, tone and durability.

16

CARNEGIE MUSIC HALL ... PITTSBURGH

Tuesday Evening, February 8, at 8.15

The World's Greatest Pianist

(Direction.. C. A. Ellis)

Public Box Office sale opens next

Thursday morning, February 3, at

Hamilton's Music Store, 815 Liberty

Avenue.

Mail orders, accompanied by remittance and self-addressed

stamped envelope for return of tickets, received NOW by

Miss May Beegle, 71 1 Farmers' Bank Building, Pittsburgh.

Prices: $1.00, $1.50, $2.00, $2.50

.. PROGRAMME1. Fantasia, Op. 15

Allegro con fuoco

Adagio

Presto

Allegro

2. a. La Bandoline

b. Le Carillon de Cythere

c. Le Coucou ....3. Etudes Symphoniques .

4. a. Nocturne in E major, Op. 62

b. Etudes Nos. 10, 7 and 11, Op. 25

c. Mazurka in A minor, Op. 17

d. Scherzo in B-flat minor

5. Rhapsodie Hongroise .

Schubert

F. Couperin

F. Couperin

C. Daquin

Schumann

Chopin

Liszt

STEINWAY PIANO USED

17

Oh, thou villain child of hell

!

Shall the house through thee bedrown'd?

Floods I see that wildly swell,

O'er the threshold gaining ground.Wilt thou not obey,O thou broom accurs'd!

Be thou still, I pray,

As thou wert at first

!

Will enoughNever please thee?I will seize thee,

Hold thee fast,

And thy nimble wood so toughWith my sharp axe split at last.

See, once more he hastens back!Now, O Cobold, thou shalt catch it!

I will rush upon his track

;

Crashing on him falls my hatchet.Bravely done, indeed!

See, he's cleft in twain!Now from care I'm freed,

And can breathe again.

Woe, oh, woe!Both the parts,

Quick as darts,

Stand on end,

Servants of my dreaded foe!

O ye gods, protection send!

And they run ! and wetter still

Grow the steps and grows the hall.

Lord and master, hear me call

!

Ever seems the flood to fill.

Ah, he's coming! see,

Great is my dismay!Spirits raised by me

Vainly would I lay!

"To the side

Of the roomHasten, broom,As of old

!

Spirits I have ne'er untiedSave to act as they are told."

** *

The scherzo is scored for one piccolo, two flutes, two oboes, two clari-

nets, one bass clarinet, three bassoons, one double-bassoon, four hornstwo trumpets, two cornets-a-pistons, three trombones, a set of three

kettledrums, big drum, cymbals, triangle, Glockenspiel, harp, strings.

There is a long and mysterious introduction. The first theme is

introduced with long-held harmonics of violas and 'cellos and peculiar

effects of flutes. The second theme, the most important of all, is given

to wood-wind instruments, beginning with the clarinet. These twothemes are repeated. The second theme is now given to a mutedtrumpet and continued by flute and harp. There is the suggestion of

the conjuration and of the approaching spirits. At last the second

PIANIST

Tour 1916-1917 Now Booking

MARGARET RICE, Secretary

325 Oakland Avenue -:- MILWAUKEE

STEINWAY PIANO

18

and chief theme appears in another form, played by three bassoons.The first theme is now changed. The scherzo is developed from thesetwo themes, although a new one of some importance is introduced.There is a translation into music of the apprentice's increasing anxiety,until the sorcerer's return is announced by dreadful blasts of brasstrills on wood-wind instruments, and tremolo of strings. The themesof the introduction are brought in, but without the mysterious har-monics. The broom flies to its corner and is quiet.

TEACHER OF SINGING610-611 PIERCE BUILDING, COPLEY SQUARE

MUSICAL INSTRUCTION

Km PRISCILLA WHITETEACHER OF SINGING

602 Pierce Building

Copley Square, BOSTON

JOHN HERMANN LOUD(Fellow of The American Guild of Organists)

Organist and Choirmaster Park Street Church

RECITALS A SPECIALTYInstruction in Organ, Harmony, and Piano

Address, 140 Boylston Street, Boston, or

92 Corey Road, Brookline

Telephone. 2717-M Brookline

Pupil of Mrs. Thomas TapperFranklin Cannon. New YorkMarie PrentnerTheodor Leschetizky, Vienna

PIANIST INSTRUCTIONExponent of the Leschetizky School

Studio

HOTEL HEMENWAYFor appointments, 'Phone Back Bay 3180

TEACHER of SINGING

372 BOYLSTON STREET

THEODORE CELLAHARPIST

Boston Symphony Orchestra

Telephone, Back Bay 2005

AVAILABLE FORCONCERTS RECITALS

MUSICALSHARP INSTRUCTION

Studio, 252 Huntington Avenue, Boston, Mass.

19

MUSICAL INSTRUCTION

Head of Violin Department WALTER SPRY MUSIC SCHOOL

712 Fine Arts Building, Chicago, 111.

Concert Manager: H. CULBERTSON FINE ARTS BUILDING

'A.^OIC^^Ti

UA\in i n'JJCljIl

SOPRANO

Season 1915-16 Chicago Opera Co.

Soloist, New York Symphony Orchestra, February 5th and 6th, New York

Available for Concerts After February 1

Management: LOUDON CHARLTON 1 - CARNEGIE HALL, NEW YORK

CECELIA BRADFORDCONCERT VIOLINIST

VIOLIN INSTRUCTIONHas studied with such well-known artists as Mme.CAMILLA URSO. EDUARD HERRMANN, and

YSAYEThe Hunnewell, 169 Washington Street

Telephone. Newton North NEWTON. MASS.

WALTER L. BOGERTPresident of National Association of

Teachers of Singing

THE ART OF SINGINGBARITONE

RECITALS of FOLK SONGS A SPECIALTY

114 West 72d Street - - - New York City

TEACHERDancing and therapeutic exercises for thedevelopment of the sub-normal child

Phone, Murray Hill 427

DANCING

220 MADISON AVENUENEW YORK

FENCINGSocial and Old English

Dances.

Send for Circular

rW^3W*b T^> (f*l A /f*3 <\ H™fc W& W^ "£>FRF^A C A I? R F

!

This is to certify that Miss Okell has been my pupil and that I consider her a

VERY EXCELLENT TEACHER Berlin, 1900

ADELAIDE C. OKELLPIANIST AND TEACHER STUDIO, 1 15 W. 84th STREET, New York City

Pupils Musicales Monthly Amateur and Professional Courses

20

MUSICAL INSTRUCTION

Announces the Winter term of the

Twenty-five Students now holding New York Positions

Students aided in securing positions Send for new catalogue

44 West 1 2th Street NEW YORK

lr. HARRIS S.A. A. G. 0.

INSTRUCTION IN PIANOORGAN, HARMONY, INTERPRETATION

Organist and Choirmaster Harvard CongregationalChurch, Brookline, Mass.

417 Huntington Chambers, BOSTON, MASS.

CARUSONStudios: The Nevada, 70th and Broadway

NEW YORK CITY(Tel. Col. 2922)

Reteri by Permission to

Enrico Caruso, Antonio Scotti, Giorgio Polacco

and Andres De Segurola

of the Metropolitan Opera Company

LESLEY MARBEL CANTO

Studio 1425 Broadway, NEW YORK

SINGERS— Suzanne Baker Watson, Cora Cross,Nellie Hart, Willette Kershaw, Gertrude Hutcheson,Ivy Scott, Marion Stanley, Estelle Ward, MabelWilbur, Flora Za belle, Edward Foley, George Gilbert,

John Hendricks, Andrew Mack, Dr. Eugene WaltonMarshall, Fiske O'Hara, Umberto Sacchetti, Ellis

Rhodes. Albert Wallerstedt, and many other singers

now before the public in operatic and church work

BETTY LEE

COSTUME RECITALS

267 WEST 79th STREET NEW YORK 'PHONE, 7938 SCHUYLER

AMERICA'S BRILLIANT YOUNG VIOLINIST

SEASON 1915-1916 NOW BOOKING

Address, 64 Commonwealth Avenue - BOSTON, Mass.

21

MUSICAL INSTRUCTION

Piano Instruction

Rafael Joseffy Method

c j- S Carnegie HallStud,oS :

\ Steinw8ay Ha„

J. S. DANIELSONAssistant to the late Rafael Joseffy

Mail Address:

Carnegie Hall, New York

VICTOR HARRISTHE BEAUFORT

TEACHER OF SINGINGIN ALL ITS BRANCHES

140 WEST 57th STREET, NEW YORK

lJESSIEFENNERH(Jessie G. Fenner)

Teacher of Singing Mezzo-Soprano

METROPOLITAN OPERA HOUSE

NEW YORK'PHONE. 9086 BRYANT

DRAMATIC SOPRANOSOLOIST. MARBLE COLLEGIATE CHURCH

CONCERTS ORATORIO RECITALSPupils thoroughly prepared for Opera. Oratorio, Concert and Lieder Singing

Personal Address, 309 WEST 86th STREET. NEW YORK 'Phone, 8280 Schuyler

SEASON 1915-1916

MRS. H. H. A. BEACHM. H. HANSON, 437 Fifth Avenue, New York

STEINWAY PIANO USED

SONGS

"Two Roses." "Ah Love but a Day." "An Evening Song." "For Ever and a Day.""A Maiden's Yea and Nay." "Song of the Canoe." "The Little Red Ribbon." "You is Je»' as Sweet."

These songs are found on the programmes of Mmes. Rappold, Jomelli, Alda, White, Lund, Bottero, Buck-hout, Florence Jepperson, Sammis MacDermid, White, Longman, Mallem McLewee, Myrna Sharlow,Christine Miller, Vera Courtenay. Margaret Keyes, Florence Otis. Marguerite Dunlap, Florencs Mulford,Messrs. Ellison Van Hoose, William Simmons, John Finnegin, Vernon Archibald, Frederic Gunther.and many other singers before the American public.

38oloSyK!s, CARL FISCHER gss New York jm^SSSSPa.*

22

MUSICAL INSTRUCTION

PRIMA DONNA SOPRANO ROYAL OPERA, MUNICHNOW IN AMERICA

First New York Appearance, January 1 3th and 1 4th. Soloist, New York Philharmonicin Special Strauss Program.

Management: Concert Direction M. H. HANSON 437 Fifth Avenue, New York

CONTRALTOMETROPOLITAN OPERA COMPANY

ADDRESS:

METROPOLITAN OPERA HOUSE

NEW YORK

MILS' >HPrv

DISTINGUISHED AMERICAN SOPRANO

Concert Direction MAURICE & GORDON FULCHER, CHICAGO

SONGS BY

Sung with great success by Alda, Amato, Gluck,

Schumann-Heink, and Sembrich

LONGING TO A MESSENGER

RETREAT I CAME WITH A SONG

BEFORE THE CRUCIFIX

;l-^- i ,1 i

ACCOMPANIST-COACH

On tour with Mme. Fremstad

28 W. 63d Street ... New York City

Grand Opera, Paris, and Grand Opera Chicago

"There was gold of the purest in Mile. Verlet's voice."

London Daily Exprest.

Address. GEORGE EDWARD. Secretary

637 Madison Ave.. New York Phone 8869 Plaza

IGUERIPRIMA DONNA SOPRANO

Engaged for First Roles,

Entire Season, Chicago Opera Company

Management: MRS. HERMAN LEWIS402 Madison Ave., Telephones:

New ^ ork Murray Hill /058. 2890

PIANIST

Personal Address: 918 Ivy St., Pittsburgh, Pa.

Management: WALTER ANDERSON171 West 57th Street - - New York

CONCERT PIANISTE

Address, 740 WEST END AVENUE

NEW YORK

23

MUSICAL INSTRUCTION

CARNEGIE HALLMANHATTAN NEW YORK

POUCH MANSIONBROOKLYN

INTERPRETATION LECTURE-RECITALSNORMAL TRAININGfor Piano Teachers

DEMONSTRATION CLASSES RECITAL TRAININGIllustrating practical methods of teaching In both solo and ensemble playing

Regular courses in HARMONY. HISTORY. ANALYSIS, and all related subjects

THE FAELTEN SYSTEMWRITE FOR BOOKLETS of Fundamental Instruction

/A

NOW PLAYING ATNEW YORK HIPPODROME

Office, 1 W. 34th StreetNEW YORK CITY

SINGINGDiction and Interpretation in Italian, English, German

and French Song. Opera and OratorioEspecially adapted Studies for young voices

Boston Studio, 543 Boylston Street, The ClunyWorcester Studio, Levana Club Rooms

393 Main Street (Wednesdays)

LYRIC SOPRANO

CONCERT RECITAL OPERAManagement:

Annie Friedberg, 1425 Broadway, New York

SOPRANO(Covent Garden)

Management: HAENSEL & JONESAeolian Hall, N.Y.

SOPRANO

Concert Oratorio Opera

724 NOSTRAND AVE., BROOKLYN, N.Y.

PIANISTFormer assistant of Leschetizky. Now teaching in NewYork. Studio: 26 West 27th Street. Phone: Farragut

3880. For Concert and Recital Dates, Address

LOUDON CHARLTON -:- CARNEGIE HALLNEW YORK

INSTRUCTION— PIANO, ORGAN,HARMONY

With the "Musical Courier"; Sec'y Manuscript Society;Organist. Central Baptist Church, New York; 439 Fifth

Ave.: Tel. 4292 Murray Hill.

Residence, Park Hill, Yonkers. N.Y.Branch Studio, 1 6 No. Broadway

PIANIST

1352 E. 62nd STREET. CHICAGO

INS BAKERPIANOFORTE INSTRUCTION

Studio

404 CARNEGIE HALL, NEW YORK CITY

AAGE FREDERICKSVIOLINIST

Management, Harry Culbertson, Fine Arts BIdg.

Chicago, III.

24